[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest                Friday, 23 July 1999        Volume 08 : Number 638

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From: Gayle Wohlken <blueman@nacs.net>
Date: Thu, 22 Jul 1999 09:31:46 -0400
Subject: [Baren 5049] Re: Baren Digest V8 #637 

Wow, Amanda!  I like your print of the Flying Acrobat.  Tell
us how you work?  Tools?  Methods?  Very nice work, full
of the energy you want us to see.  

Gayle

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From: Bella1yopp@aol.com
Date: Thu, 22 Jul 1999 12:57:06 EDT
Subject: [Baren 5051] Re: Amanda's reply 

>Wow, Amanda!  I like your print of the Flying Acrobat.  Tell
>us how you work?  Tools?  Methods?  

When I was in school I could use a press, but now I am learning to print by 
hand.  I use oil based inks (but have tried water based with little success) 
on birch plywood.  Most of my prints have been on thin birch, but lately I've 
been using thicker birch (and enjoying the sturdiness) since it is easier 
when printing by hand.  I enjoy doing reductive color printing and soon will 
be trying it by hand. I have several student grade wood carving tools and 
some (my favorites) from McClains.  

I don't have any special methods.  I usually like to have both stillness and 
movement within my prints.  

The Flying Acrobat is one of several piecesI did based on circus characters.  
A representation of my own family circus and the characters within.    

Lately, I've put the circus on the back burner and have been trying to work 
on my woodcutting skills and getting some "space."  I am moving from my 
downtown, toxic, basement studio to my (almost) finished shed/studio in my 
backyard.  It is very exciting for me.  As soon as I move in I have several 
blocks ready to be cut.  
Thank you for your interest and kindness.  Soon more of my work will be 
online and I hope to hear your thoughts on those pieces.

- -Amanda

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From: "Andy English" <a.english@virgin.net>
Date: Thu, 22 Jul 1999 21:00:49 +0100
Subject: [Baren 5052] Re: now I've done it (boxwood question) 

Hi Sheryl,
I've prepared boxwood blocks from branches - quite successfully - and I'll
be happy to go over the method.

I am very new to the list. What is the etiquette here - do I reply for all
to read or email privately?

Andy

http://freespace.virgin.net/a.english/print.htm

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From: Barbara Mason <bemason@concentric.net>
Date: Thu, 22 Jul 1999 13:35:04 -0700
Subject: [Baren 5055] printing.... 

I printed 29 prints today, it was much harder than doing two, but I did
not have to clean the plates between impressions. My right arm feels
like jello. Of course about 15 of them are not perfect, so back to the
studio after I rest my arm. This is not as easy as I thought.

Graham,
I am getting some marks from the baren, small circles. How do I overcome
this? Am I pushing too hard? I am standing up and printing on the press
bed (pretty funny, I know, but it is level and the right height) I am
oiling the baren quite often and find it prints much smoother when I do
and is of course easier on the arm. I am using oil based ink and only
two plates with almost no registration problems. The kento system is
great. Should I use a piece of mylar instead of the parchment between
the baren and paper? I am using Kitakata paper, it is thinner than the
torinako paper we used at "boot camp" but would that cause the circles
to show up? I am not getting them on every print, which makes me think
it is the ink. Any suggestions from anyone would be appreciated. This is
my first print so all help is welcome.
Barbara

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From: David Bull <davebull@woodblock.com>
Date: Fri, 23 Jul 1999 07:40:08 +0900
Subject: [Baren 5056] Re: boxwood question 

Andy wrote: 
> I am very new to the list. What is the etiquette here - do I reply for all
> to read or email privately?

I am sure that _many_ of us would be interested in hearing your reply -
that's why we're here!

Save the private replies for things like - requests for addresses, 'me
too' messages, thank you notes, etc. etc.  (Anybody unsure about what a
suitable posting consists of can check the group FAQ on list 'rules' and
etiquette at:
http://woodblock.com/forum/baren_faq2.html)

To everybody: A visit to Andy's web site is highly recommended: 
> http://freespace.virgin.net/a.english/print.htm

***

Sheryl wrote:
> but does anybody know a reference for preparation of 
> boxwood for wood engraving?

There are only two people on this forum who can answer this Sheryl (to my
knowledge), Andy over in England, and Hideshi here in Tokyo.  I look
forward to seeing what they can tell us ...

But for myself, I would like to question the 'diagnosis' of your piece
as boxwood.  8" wide sounds a bit on the wide side for box.  The widest
I've ever seen in my searches is something around 5~6".  

It is very difficult to get good boxwood here - all the good stuff is
snapped up by the people who make 'kushi', traditional Japanese combs.

Wood engravers link Andy and Hideshi use the end grain, so they will have a 
different method of preparation, but boxwood in the traditional Japanese 
method is used 'on the plank', just like the other woods we use.  

It's almost never used by itself, but usually inlaid into a larger piece
of wood, for just the delicate face area of the print, for example. 
I've got a few photos that show this process on my surimono web site:

http://woodblock.com/surimono/process.html

***

> ... wishes there weren't so many dead links on the Phillips site. :-)

I'd sure like to have that site under the wing of 'woodblock.com'.  Mr.
Boulet did a fantastic job of starting it, but it seems that he doesn't
have time or interest for finishing it off, or maintaining it.  

Phillips' work (including his books) is still under copyright
protection, so I can't do anything about this myself ...

I'm also very curious about what happened to his blocks.  Graham, you
live nearby, do you know anything about his family?  Any way to get in
contact with them?  There are printers here capable of pulling gorgeous
reproduction editions from his blocks, if they still exist.  

I think this would be a great idea: his family could make a living,
'normal' people could afford to get examples of Phillips' work, and
surely the man himself would be happy to have 'his' prints made
available again ...

***

Barbara wrote:
> I am getting some marks from the baren, small circles.

She asked Graham, but he's still in bed or something, so may I reply
too?

These marks (baren-suji in Japanese) are sometimes a useful way to add
texture to the impression, but are sometimes not wanted.  They can be
caused by a few things:

(a) a too-strong baren coil.
(b) too much water in the paper
(c) 'jamming' the baren too hard down on the paper
(d) having too much paste in the mix
(e) all of the above

But I'm pleased to hear about your problem.  Why?  Because you said
'small circles'.  _That's_ the way to use the baren properly.  Who was
your teacher?  :-)

Dave

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From: Graham Scholes <gscholes@home.com>
Date: Thu, 22 Jul 1999 16:42:54 -0800
Subject: [Baren 5057] Phillips and Baren marks. 

Dave wrote....
>I'm also very curious about what happened to his blocks.  Graham, you
>live nearby, do you know anything about his family?

I will be meeting with Mary Adamson ...Phillips daughter who lives in
Victoria....before the exhibition.

I have seen a few of these at the Victoria Art Gallery.....wood engravings
only.   I don't know if any still exist within the family.  I will ask the
question however.

I have heard that about 20 years ago a person in Winnipeg started to
collect every print he lay is hands on and the plates as well.  Once the
prices were manipulated upwards he sold a lot if not most of the
collection.  Made a killing I understand.

>I think this would be a great idea: his family could make a living,
>'normal' people could afford to get examples of Phillips' work, and
>surely the man himself would be happy to have 'his' prints made
>available again ...

I heard via a third party that the daughter and grand children were not
interested. I also hear that the plates were slightly defaced so prints
could not be taken again.  I will be a good chance to enquire and get the
facts first hand.

Does anybody have any other questions that should be asked.?

>Barbara wrote:
>> I am getting some marks from the baren, small circles.
>
>She asked Graham, but he's still in bed or something,

Is this a wakeup call or what...........

The circle marks could not be cause by the coil as it is the vacuum formed
unit as the Yoshida baren. Is it possible that a pressure point comes from
the edge of the baren.
You may not be pressing evenly but to one edge of the baren.
The parchment should work just fine if it was the same stuff that was
brought to Boot Camp.
I use a piece of new print.....

If you are using oil base pigment then you are putting it on with a brayer
.... yes. Don't think this could cause circles.   It must be the baren use
or method since you are not getting the marks on every print.

Regards,

Graham

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From: Bea Gold <bnj50@earthlink.net>
Date: Thu, 22 Jul 1999 20:53:08 -0700
Subject: [Baren 5059] Going to LACMA Print show 

Going tomorrow with Ruth Leaf to the "Japanese Prints:  the Eighteenth
Century" show at the Los Angeles County Museum of Art. "The exhibition
presents 42 rare and distinguished prints and 5 books"  If you are in
the LA area the exhibit will be there until August 10.  I'll let you
know more about it after we see it. Bea

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From: James G Mundie <jimandkatemundie@juno.com>
Date: Fri, 23 Jul 1999 00:43:24 -0400
Subject: [Baren 5060] boxwood 

Hmmm... interesting dilemma, Sheryl.  I had the opportunity to examine
some old endgrain blocks once upon a time.  I think one thing that
accounts for the outrageous price for finished blocks is that one of
these blocks I examined was composed of many smaller pieced dovetailed
and joined together.  Quite a bit of work, that.  I remember reading
somewhere that back in the heyday of commercial engraving, large blocks
for magazine illustrations and such were made by joining together blocks
with screws.  Several engravers could work on various sections at the
same time and then join together the whole.  If one block cracked, it
could be removed and replaced with a freshly cut block.

If you plan to put together the blocks yourself, I suppose you could try
to glue a bunch of sections together to the size you want, rough it
square with a very sharp table saw, then sand the dickens out of it. 
Easier said than done, of course.  All of the pieces would have to fit
perfectly to start with...

I seem to recall that one of the recent issues of W.E.N.'s "Block &
Burin" had an article about constructing blocks.  I'll have to do some
rummaging and see if I can find the information for you. 

James Mundie

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From: baren_member@woodblock.com (Barbara Mason)
Date: Fri, 23 Jul 1999 01:58:19 -0400 (EDT)
Subject: [Baren 5061] printing.... 

Dave, Thanks for the info, you missed that I was using oil
based ink. I know that is a cop out, but I am pretty
shakey with the water based printing, I need a little
practice before I start doing editions. I hope to do the
next exchange print in the Hanga style. I should be
somewhat proficient by then, at least as proficient as a
total beginner can get in two months.

Graham, I think you analyzed the problem, I was pushing to
one side more than the other and that caused the circles.
When I concentrated on keeping the baren totally flat (I
thought I was, but guess not) the problem was greatly
reduced. I have been trying to turn the little inside part
of the baren like we learned, but mine is so tight I can't
budge it. Should I get it wet to soften it so I can turn
it? Or should I just forget it and when it wears out and I
tie it myself it will no doubt be loose enough to turn
easily? I know you will be sorry you gave that
workshop.....the questions will keep coming! 

Barbara

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From: baren_member@woodblock.com (Graham Scholes)
Date: Fri, 23 Jul 1999 01:59:21 -0400 (EDT)
Subject: [Baren 5062] printing .... 

Barbara wrote.... ,
>I think you analyzed the problem, I was pushing to one side 
> more than the other and that caused the circles.

Good...glad you found the cause.

>have been trying to turn the little inside part of
>the baren like we learned, but mine is so tight I can't budge it.

Hummm ... a well tied sheath.   It will eventually loosen with more
use. Just keep trying it.
The beauty about the Yoshida baren is that the inner coil is very 
forgiving and wear on the sheath is much less than on those with 
braided coils.

>Should I get it wet to soften it so I can turn it?

No don't wet it.

>I know you will be sorry you gave that
>workshop.....the questions will keep coming!

Oh I don't think soooooooo.
However if I don't respond you will know the limit. (<:

Graham

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From: "John/Michelle Morrell" <jmorrell@ptialaska.net>
Date: Thu, 22 Jul 1999 22:25:50 -0800
Subject: [Baren 5063] Baren #367, Re wood engraving blocks Boxwood question by Sheryl Coppenger  

Sheryl wrote:
>Not that I have time to do anything about this at the moment, but does
>anybody know a reference for preparation of boxwood for wood engraving?

I figure preparing end-grain won't be too horrible if I do small pieces
(like 2"x3") but gluing for a bigger end-grain piece could be a pain.
There's a "scraping with a special tool" reference in Mueller I don't
know about.  The board is about 8" wide and 36" long.  It's a nice
straight piece except for a split through one corner.  Looks like it's
been knocking about for a while so I suspect it's good and dry.


You might try contacting Joe Spratt, Box 158, Smithville, Ontario Canada LOR
2A0 (phone (905) 945-9621.   He makes end blocks, the best I've seen,
including boxwood.  He might give you some pointers.

By the way, welcome.  Glad to find there is another wood engraver reading
the Baren.

Michelle Morrell jmorrell@ptialaska.net

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From: John Ryrie <j.ryrie@pgrad.unimelb.edu.au>
Date: Fri, 23 Jul 1999 17:02:29 +1000
Subject: [Baren 5064] Re:John Ryrie 

I did spell the name wrong It's Jacques Hnizdovsky.  
I was able to fined one of his prints though it only gives a hint of the
quality of his work. It also has some information about him.
This is an add for the book that I have and its well worth getting hold of.
This sit is full of other books on woodcut and related subjects
http://www.musictrader.com/bookeng.html
End grain blocks need to be cut into smaller blocks then glued exactly together
then using a sheet of sand paper flat on a level surface such as a sheet of
glass, you rub the face of the block in a circular motion using only the wait
of you hand.   You go down in grades until you reach the finest sand paper.
You should only need to use tong and grove joints if the block is to be large. 

I'm shore Andy will be able to enplane it better, and her site well worth
visiting.
John

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End of Baren Digest V8 #638
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